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Books > Arts & Architecture > Performing arts > Films, cinema > Animation
Animation - Process, Cognition and Actuality presents a uniquely
philosophical and multi-disciplinary approach to the scholarly
study of animation, by using the principles of process philosophy
and Deleuzian film aesthetics to discuss animation practices, from
early optical devices to contemporary urban design and
installations. Some of the original theories presented are a
process-philosophy based theory of animation; a cognitive theory of
animation; a new theoretical approach to the animated documentary;
an original investigative approach to animation; and unique
considerations as to the convergence of animation and actuality.
Numerous animated examples (from all eras and representing a wide
range of techniques and approaches - including television shows and
video games) are examined, such as Fantastic Mr. Fox (2009), Madame
Tutli-Putli (2007), Gertie the Dinosaur (1914), The Peanuts Movie
(2015), Grand Theft Auto V (2013) and Dr. Katz: Professional
Therapist (1995-2000). Divided into three sections, each to build
logically upon each other, Dan Torre first considers animation in
terms of process and process philosophy, which allows the reader to
contemplate animation in a number of unique ways. Torre then
examines animation in more conceptual terms in comparing it to the
processes of human cognition. This is followed by an exploration of
some of the ways in which we might interpret or 'read' particular
aspects of animation, such as animated performance, stop-motion,
anthropomorphism, video games, and various hybrid forms of
animation. He finishes by guiding the discussion of animation back
to the more tangible and concrete as it considers animation within
the context of the actual world. With a genuinely distinctive
approach to the study of animation, Torre offers fresh
philosophical and practical insights that prompt an engagement with
the definitions and dynamics of the form, and its current
literature.
The Disney Musical: Critical Approaches on Stage and Screen is the
first critical treatment of the corporation's hugely successful
musicals both on screen and on the stage. Its 13 articles open up a
new territory in the critical discussion of the Disney
mega-musical, its gender, sexual and racial politics, outreach work
and impact of stage, film and television adaptations. Covering
early 20th century works such as the first full-length feature film
Snow White and the Seven Dwarfs (1937), to The Lion King -
Broadway's highest grossing production in history, and Frozen
(2013), this edited collection offers a diverse range of
theoretical engagements that will appeal to readers of film and
media studies, musical theatre, cultural studies, and theatre and
performance. The volume is divided into three sections to provide a
contextual analysis of Disney's most famous musicals: * DISNEY
MUSICALS: ON FILM * DISNEY ADAPTATIONS: ON STAGE AND BEYOND *
DISNEY MUSICALS: GENDER AND RACE The first section employs film
theory, semiotics and film music analysis to explore the animated
works and their links to the musical theatre genre. The second
section addresses various stage versions and considers Disney's
outreach activities, cultural value and productions outside the
Broadway theatrical arena. The final section focuses on issues of
gender and race portraying representations of race,
hetero-normativity, masculinity and femininity in Newsies, Frozen,
High School Musical, Aladdin and The Jungle Book. The various
chapters address these three aspects of the Disney Musical and
offer new critical readings of a vast range of important works from
the Disney musical cannon including Enchanted, Mary Poppins,
Hunchback of Notre Dame, The Lion King and versions of musicals for
television in the early 1990s and 2000s. The critical readings are
detailed, open-minded and come to surprising conclusions about the
nature of the Disney Musical and its impact.
The films from Pixar Animation Studios belong to the most popular
family films today. From Monsters Inc to Toy Story and Wall-E, the
animated characters take on human qualities that demand more than
just cultural analysis. What animates the human subject according
to Pixar? What are the ideological implications? Pixar with Lacan
has the double aim of analyzing the Pixar films and exemplifying
important psychoanalytic concepts (the voice, the gaze, partial
object, the Other, the object a, the primal father, the
name-of-the-father, symbolic castration, the imaginary/ the real/
the symbolic, desire and drive, the four discourses,
masculine/feminine), examining the ideological implications of the
images of human existence given in the films.
In Music in Disney's Animated Features James Bohn investigates how
music functions in Disney animated films and identifies several
vanguard techniques used inthem. In addition he also presents a
history of music in Disney animated films, as well as biographical
information on several of the Walt Disney Studios' seminal
composers. The popularity and critical acclaim of Disney animated
features truly is built as much on music as it is on animation.
Beginning with Steamboat Willie and continuing through all of the
animated features created under Disney's personal supervision,
music was the organizing element of Disney's animation.
Songsestablish character, aid in narrative, and fashion the
backbone of the Studios' movies from Snow White and the Seven
Dwarfs through The Jungle Book and beyond. Bohn underscores these
points while presenting a detailed history of music in Disney's
animated films. The book includes research done at the Walt Disney
Archives as well as materials gathered from numerous other
facilities. In his research of the Studios' notable composers, Bohn
includes perspectives from familymembers, thus lending a personal
dimension to his presentation of the magical Studios' musical
history. The volume's numerous musical examples demonstrate
techniques used throughout the Studios' animated classics.
Over the past forty years, American film has entered into a formal
interaction with the comic book. Such comic book adaptations as Sin
City, 300, and Scott Pilgrim vs. the World have adopted components
of their source materials' visual style. The screen has been
fractured into panels, the photographic has given way to the
graphic, and the steady rhythm of cinematic time has evolved into a
far more malleable element. In other words, films have begun to
look like comics. Yet, this interplay also occurs in the other
direction. In order to retain cultural relevancy, comic books have
begun to look like films. Frank Miller's original Sin City comics
are indebted to film noir while Stephen King's The Dark Tower
series could be a Sergio Leone spaghetti western translated onto
paper. Film and comic books continuously lean on one another to
reimagine their formal attributes and stylistic possibilities. In
Panel to the Screen, Drew Morton examines this dialogue in its
intersecting and rapidly changing cultural, technological, and
industrial contexts. Early on, many questioned the prospect of a
""low"" art form suited for children translating into ""high"" art
material capable of drawing colossal box office takes. Now the
naysayers are as quiet as the queued crowds at Comic-Cons are
massive. Morton provides a nuanced account of this phenomenon by
using formal analysis of the texts in a real-world context of
studio budgets, grosses, and audience reception.
Sound Design for Moving Image offers a clear introduction to sound
design theory and practice to help you integrate sound ideas into
your productions. Contemporary soundtracks are often made up of
hundreds of separate tracks, and thousands of individual sounds,
including elements of dialogue, music and sound effects. As a
result, many budding filmmakers find them a daunting prospect, and
are tempted to leave sound to the last stages of post-production.
This book, from award-winning Sound Designer Kahra Scott-James,
encourages you to incorporate sound into your pre-production
planning, to make the most of this powerful narrative tool.
Adopting a specific framework in order to help demystify sound
design for moving image, the book isn't designed as a sound
engineering handbook, but as a guide for moving image content
creators wanting to explore sound and collaborate with sound
designers. Regardless of medium, the same, or similar concepts can
be adopted, adapted, and applied to any project employing sound.
Includes detailed and insightful interviews with leading sound
designers, including Randy Thom, Director of Sound Design at
Skywalker Sound, and Glenn Kiser, Director of the Dolby Institute,
as well as practical projects to help you hone your skills using
video and sound files available from the companion website -
https://bloomsbury.com/cw/sound-design-for-moving-image - making
this is a complete sound course to take you from novice skills to
confident practitioner.
With an abundance of information on how to create motion graphics
already available, Design in Motion focuses on the why of moving
image and less about the how. By unpacking the reasons behind
screen designer's production choices, each chapter deconstructs
examples of motion graphics by drawing on case studies of both
familiar examples from contemporary cinema and unseen work from
postgraduate motion graphic designers. It examines the value of
image, text, motion, camera and transitions, explaining in detail
why some methods work, while others fail. Whether you work in
info-graphics, documentary or design, this book is structured to
follow the production process and, together with its multimedia
companion website, will be a by-your-side companion to guide you
through your next project.
How have animation fans in Japan, South Korea, the United States,
and Canada formed communities and dealt with conflicts across
cultural and geographic distance? This book traces animation fandom
from its roots in early cinema audiences, through mid-century
children's cartoon fan clubs, to today's digitally-networked
transcultural fan cultures.
In Cartoon Vision Dan Bashara examines American animation alongside
the modern design boom of the postwar era. Focusing especially on
United Productions of America (UPA), a studio whose graphic,
abstract style defined the postwar period, Bashara considers
animation akin to a laboratory, exploring new models of vision and
space alongside theorists and practitioners in other fields. The
links-theoretical, historical, and aesthetic-between animators,
architects, designers, artists, and filmmakers reveal a specific
midcentury modernism that rigorously reimagined the senses. Cartoon
Vision invokes the American Bauhaus legacy of Laszlo Moholy-Nagy
and Gyoergy Kepes and advocates for animation's pivotal role in a
utopian design project of retraining the public's vision to better
apprehend a rapidly changing modern world.
Hand-Made Television explores the ongoing enchantment of many of
the much-loved stop-frame children's television programmes of 1960s
and 1970s Britain. The first academic work to analyse programmes
such as Pogles' Wood (1966), Clangers (1969), Bagpuss (1974)
(Smallfilms) and Gordon Murray's Camberwick Green (1966), Trumpton
(1967) and Chigley (1969), the book connects these series to their
social and historical contexts while providing in-depth analyses of
their themes and hand-made aesthetics. Hand-Made Television shows
that the appeal of these programmes is rooted not only in their
participatory address and evocation of a pastoral English past, but
also in the connection of their stop-frame aesthetics to the
actions of childhood play. This book makes a significant
contribution to both Animation Studies and Television Studies;
combining scholarly rigour with an accessible style, it is suitable
for scholars as well as fans of these iconic British children's
programmes.
Japanese animation has been given fulsome academic commentary in
recent years. However, there is arguably a need for a more
philosophically consistent and theoretically integrated engagement.
While this book covers the key thinkers of contemporary aesthetic
theory, it aims to reground reflection on anime within the
aesthetics of R.G. Collingwood.
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